Master Class with Leon Fleisher - Beethoven, Sonata Op. 109
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- เผยแพร่เมื่อ 24 ส.ค. 2024
- A wonderful master class with Leon Fleisher on Beethoven's Sonata Op. 109 in E major. I find that many of his inspiring comments relate to general issues of interpreting music, not merely to particular passages in this magnificent piece.
Nimrod David Pfeffer, piano
Recorded at Bennett Gordon Hall, Ravinia Festival, July 20, 2011
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Fleisher taught my student, "The opening of 109 is riding your bike in a field of Aspen's quaking and fluttering, easy and joyful." Beautiful 109 Graham!
Movement | Performance | Commentary
1st mov. 2:46 7:02
2nd mov. 21:11 23:31
3rd mov. 33:38 35:45
Many thanks for this - I was a student at Peabody in '82 and had the great good fortune to play in Leon Fleisher's weekly classes. A highlight not only of my year there but of my musical education! An incredible musical mind.
For some reason this masterclass is perfect; a talented and receptive student, a master who isn't showboating and genuinely concerned with his student. A most interesting and informative session. Thanks for posting!
Nimrod is SOOOOOOOOOOOOOOOOOO talented... I was totally mezmorized with his playing.... and Leon is such a master.................. thank you so much for posting this.......................it's a learning experience.............and there is no question that Fleisher studied with Schnabel.............., like Dad did..............
Marvelous! How unfortunate and frustrating it had to stop right after the theme of the third movement. I originally planned to only listen to a few minutes because I was short of time but ended up listening to the whole recording. It went by so fast. Thank you!
Absolutely beautiful playing, Nimrod. And what brilliant insight from maestro Leon Fleisher!
Got a bachelors and masters with him, studied this piece with him, like a time warp hearing this. Very nice playing.
NIMROD!!!! You’re so so so so so so sooooooo good ♥️♥️♥️♥️♥️
The tema con variazioni is meant as Beethoven's quotidian, reserved, inner music, almost lurching from note to note of its own melody. This resigned world-view is then populated by everything the theme can be put to, and so, by the final note, consolation is achieved.
Wonderful upload! Beautiful and deeply mysterious 109 and a great master -- class...
Graham-I watch your videos at Steinway Hall all the time...love them! I can see Mr. Fleisher's influence on your teaching style.
Thank you so much for upload
you played very good! I like your third mov, the theme. was so beautiful!!~
Thanks!!!!! great masterclass
Really inspiring! talented pianist and wonderful maestro!
This is great playing for my taste. Ludwig at his profound best. I'm a huge Leon Fleisher fan too. Even when he's critical he's kind.
LOVE!!! Thank you Graham.
Thanks for sharing ，expect more videos about his master class
Thanks for your sharing
To interpret what "mezza voce" meant to Beethoven, it may be useful to refer to the first 40 or so bars of Op. 96 second movement (where he combines sotto voce, piano, mezza voce, and, very importantly, espressivo). Also refer to the last four bars before the theme comes back in this movement. Keeping the right pedal as indicated by the composer provides a volume (acoustic) at the theme's return that is much more substantial than what most pianists do. Mr. Fleisher, this might clear your doubts about the seemingly awkward combination of Gesangvoll and mezza voce.
Thanks for sharing!:)
I heard Fleisher at a master class in the 70s, and he said that small differences in a musical performance are like ripples on a pond, although initially small they expand and cover a huge area. The results of the minute changes he suggests in your playing bear that statement out.
Fleisher studied with Schnabel . And could take some little crystals with him . Lost treasures .
Thanks, very interesting !
Does anyone knows where can I see full master class of 30th sonata
wonderful way to infinity....Highway 109 Through to Hwy 110 to reach the no return Hwy 111 ; and only there you find Beethoven
After you've managed to get through the Rockies of Hwy 106.
I am playing for Leon Fleisher in a masterclass at Severance Hall and am scared out of my wits. I am watching these masterclass videos with him to "confront" the situation. Never really done anything on this scale before but everybody says he is a kind man. Can anyone give me any suggestions? it would be much appreciated! AND thank you for posting this!
brian andrew leahy how was it?
it was AMAZING! I played some Schubert for him and when i turned around he was visibly moved and said very softly, almost to himself, "that was beautiful. just incredibly beautiful." It was just one of those times when you know you are playing well because in the hall you could hear a pin drop. He was extremely kind to me and pulled his chair up next to me and at one point we started to play a duet. he was about to make a comment at one point, looked in the piano and said, "what the hell is this?" and yanked out a broken string. lol. He signed my score and i have a picture of me playing for him that i cherish. it used to be my profile pic. maybe i'll put it back up now. :)
brian andrew leahy oh... what a beautiful memory.. I got goosebumps reading it!
Thank you so, so much! :)
An answer to Mr. Fleisher's question about the conflict between the indications "mezza voce" and "cantabile" can be found in: www.innig-ludwig.com/
Does anyone know what measure Leon is talking about when he mentions the "watermark piano" around 19:00?
I think its Bar 58 first movement when piece goes to 3/4 tempo marked adagio espressivo....my edition has makings p(?) and f(?) which is what I he's referring to....i think so not sure.
poplife123 Thank you so much for the response! Yes, it seems it was around bar 58. I'm confused if it's bar 58 though, since it's the same pattern in bar 9, and a f and p would work just fine there. Are there any more question marks in your score after bar 58 in mov. 1?
PianoDanceLife
I think he's talking about the fact that in the first statement its a crescendo to forte at bar 9.....where as the second time the arpeggio is p(?) with cord at f(?).....i think he's questioning whether that makes sense.....again i'm no expert in these matters....
PianoDanceLife I have the schenker edition and I cant find anymore ? marks.....still looking lol
poplife123 Thank you! I have the Henle edition, and they must have already changed it in this edition, since my bar 9 and bar 58 have the same dynamics. I will go practice it in confidence now. Thanks :)
What a pity, I could not hear almost the whole thing!!!!!
master classes an extreme test of maestro and performer- so much of the cliche- little of questioning of authority- little really to help a performer- seems to me- even less to help the audience- a strange exercise- bit o blarny and bs- often wish the maestros would step back a bit and think how best to either improve or say nothing?
this piece expecially-
this comment is NOT by cathy permut but by david eberhardt- exigencies of the internet
@@davideberhardt100 I can certainly understand why anyone would not want to be associated with the comment above.
i fell asleep at 10 minutes...